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534325 Los(e)/Seite
Los 51
An artist Puss in Boots character cat, with white mohair face, hands and tail, black painted details, light orange and black glass cats eyes, elaborate eyebrows and whiskers, fixed head, unjointed body, dressed in pink satin shirt, pink and gold striped trousers, with a brown fur hat -- 25in. (63cm.) not including hat; and a Lady bird Puss in Boots story book (2) owner of lot ???owner of lot ???
Los 484
A Roullet & Decamps style clockwork automaton white rabbit in cabbage, white fur covered with light bulb eyes operated by battery, in papier-mache and wood cloth covered cabbage, in original plain card box stamped Made in Austria —6 1/2in. (16.5cm.) high (inoperative, missing on/off lever, a little loss to plush and box lid missing two sides)
Los 991
A 19th century German bisque shoulder-head doll, probably Alt, Beck & Gottschalck with unusual light brown painted and moulded centre-parted hair falling into ringlets, blue painted upward glancing eyes, white dot highlight, closed mouth, old stuffed body with leather arms, Burgundy two part dress with lace trim, underclothes and oil-cloth shoes —24in. (61cm.) high
Los 506
A very rare John Lethal Love Cards playing card, complete set of fifty-two cards with tax stamp on the Ace of Spades, uncoloured engraved cards and plain versos, early 18th century —just under 4in. (10cm.) height of card (light staining to some cards) Notes - Lenthall advertised this pack of cards in 1709 and in 1714; Literature - Ortiz-Patiño 9; All cards on the table 265; Fournier, British Isles 30 (dated to c. 1700); Hamilton, Playing cards in the Victoria & Albert Museum 111
Los 969
An Alt Beck & Gottschalck bisque shoulder head lady doll with elaborate hair, with blue paint eyes, closed mouth with slight smile, exposed ear pierced into the head, blonde painted and moulded hair piled high on her head with short fringe, swept up and held by a black painted gem hair band, two fat plaits down the back of the hair either side and curls falling down the middle, old stuffed body with bisque arms, integral striped stocking and red kid boots with tassel, light brown two-part dress and underclothes —26in. (66cm.) high
Los 271
A British 1930s teddy bear cub, with beige wool plush, clear and black glass eyes with remains of brown painted backs, light brown stitched nose, mouth and claws, swivel head, jointed limbs with replaced velvet pads --13in. (33cm.) high; and an interesting brown wool plush teddy bear with oil-cloth pads (some wear and thinning) (2) - from The Susan Collard Collection
Los 305
A 1930s Chad Valley comic seated dog, with light brown mohair, opaque black, brown and white googly glass eyes, long white mohair muzzle, black stitched nose, mouth and claws, swivel head, black mohair top of head, back of ear and back feet, long tail and red and white cloth label --10 1/2in. (27cm.) high (slight wear and matting); two small jointed teddy bears and three 1960s unjointed bears
Los 169
A light cinnamon mohair 1930s teddy bear, with orange and black glass spike eyes, black stitched nose mouth and claws, swivel head, jointed limbs, with cloth foot pads later covered with muslin and squeaker --23 1/2in. (59.5cm.) high (thinning mainly to right side of body and back, hand pads need attention)
Los 278
Four post-war German teddy bears, comprising of a Hermann blonde mohair bear on all fours with orange and black glass eyes, black stitched nose and mouth, swivel head --6in. (15cm.) high; a light brown bear Hermanns teddy bear, a Steiff Zotti and Hermann collector’s bear with red plastic chest tag (slight wear) - from The Susan Collard Collection
Los 587
A fine late 19th century Venetian king puppet, with composition head and jointed wooden body, pronounced nose and bulging eyes, red wool hair and beard, pale yellow silk clothes with lace trim, light brown kid boots, red cloak with spangles and gilt metal crown with paste gems —12in. (30.5cm.) high (moth holes to cloak)
Los 967
An Alt Beck & Gottschalck bisque shoulder head lady doll impressed 1002, with blue painted upward glancing eyes, white highlight dot and red eyelid line, light brown brows, closed mouth, exposed ears, pierced into the head, blonde painted and moulded curls waving into three large ringlets at the back of head, original stuffed body with red kid integral boots, pink striped silk dress and underclothes —23in. (58.5cm.) high (dress discoloured and slight fraying)
Los 590
A late 19th century Venetian courtier puppet, with composition head and jointed wooden body, painted moustache and remains of blonde wool hair, cream and pink silk suits with long leaf shaped sleeves, gilt trim and spangles, gold material cap, pink silk purse and light brown kid boots —10 1/2in. (26.5cm.) high (slight damage to clothes)
Los 139
Eight small German post-war pin-jointed teddy bears, including a light brown synthetic teddy bear with orange and black plastic eyes, black stitched nose and mouth, remains of red felt tongue Berlin sash pinned across chest-- 5 1/2in.(14cm.) high, three golden art silk bears, a dark brown art silk and three others - from The Susan Collard Collection
Los 1029
An interesting pale bisque shoulder-head doll, with solid domes head, inset brown glass eyes, open/closed mouth with slight unpainted gap, ears pierced into head, brown mohair wig, gusseted kid body, light and dark brown striped two piece dress with floral blue ribbon trim and steel bead rosettes, recent black hat, underclothes and rare tan and brown kid heeled boots stamped ‘Chas S Childs, Fine Boots & Shoes, Holyoke, Mass’ —21 3/4in. (55cm.) high (restored shoulders and some damage to body) - with UFDC 1985 Region 2 Exhibit Third Place ribbon
Los 625
A rare J P Seeburg (Chicago America) Coin in the Slot electric Nickleodean 1925-28, Style C, named ‘Xylophonium’, light oak wooden case, the base with two front opening doors, the top with a single central door and three leaded stained glass panels, volume control and on-off switch, containing a fifty-four note piano, mandolin and xylophone, working on 20p, keys and a further six boxed rolls, each having ten tunes —56in. (142cm.) high x 38 1/2in. (98cm.) wide x 25in. (64cm.) deep - for reference see ‘Encyclopedia of Automatic Musical Instruments’ by David Bowers - believed to have come from a Kentucky dance hall of ill repute!
Los 290
Marion Margaret Violet Manners, Duchess of Rutland (1856-1937) Portrait of Norah Mary Madeleine Lindsay (née Bourke, 1873-1948) in profilesigned with monogram and dated 1894 lower right, inscribed with the sitter's identity to the reversepencil30.5 x 23.5cmProvenance:Private collection, Launceston Place, London, W8Exhibited:Brussels International Exhibition, 1897, British Fine Art Section, no. 24, loaned by Dicksee & CoBorn into an Anglo-Irish military family at Ootacamund, India, the sitter married Sir Harry Lindsay, the present artist’s brother. She honed her gardening skills at her wedding gift, Sutton Courtenay Manor, Oxfordshire, creating a celebrated garden that influenced her lifelong friend, Vita-Sackville West. In 1924, after the collapse of her marriage, she embarked on a professional career as a garden designer. Her connections amongst the social elite led to many significant commissions and she influenced, advised and worked on a number of notable gardens including those at Blickling Hall, Cliveden and Hidcote Manor.Examined out of frame. Not laid down. Prominent burns from the mount to the outer edges. Light spotting to the chin and a mark beneath the sitter's eye. Framed 49 x 42.5cm
Los 149
Francis Jukes (1745-1812) after Joseph Farington North West view of Edinburgh Castle from the Water of Leith handcoloured aquatint, published by F. Jukes, London, 179245 x 61cmProvenance:Private collection, Launceston Place, London, W8Some light discolouration to the paper, notably a circular patch to the centre of the picture (see additional image). Framed 71 x 55cm
Los 224
Attributed to John Michael Wright (1617-1694) Portraits of Lord Henry Howard, later 6th Duke of Norfolk (1628-1684) and his first wife Lady Anne Somerset (1631-1662) both half-length, Lord Henry in armour with a white lace cravat, Lady Anne wearing a blue dress and pearls oil on canvas 66.5 x 57cm, a pair Provenance: Acquired by the vendor's Great Uncle in the decade 1930-40, Thence by descent Although previously thought to represent the 3rd Lord and Lady Arundell of Wardour (as inscribed to the reverse) the present portraits can now be securely identified as of Henry Howard, 6th Duke of Norfolk and his first wife Lady Anne Somerset, eldest daughter of the 2nd Marquess of Worcester. The likeness of the Duke corresponds closely with Wright’s three-quarter-length portrait, of which at least four versions are known (see Exhibition catalogue John Michael Wright, Edinburgh, 1982, p. 70, under no. 15) which depict him at a parapet holding a plumed helmet in a landscape with a page and horse beyond; all were formerly described as various other sitters, but the Duke’s identity in these portraits has since the 1982 Edinburgh exhibition (op. cit.) been verified by a 1660 work by Adriaen Hanneman at Arundel Castle. The former Wardour Castle three-quarter length of the Duke exhibited in 1982 (ibid) proposes a date based on the style of the sword to circa 1660. Therefore, at the time of these portraits, Lord Henry was not yet Duke as he only succeeded his insane elder brother in 1677 and Lady Anne dies in 1662 so they must predate that year. From Lord Henry's apparent age in this portrait, he is therefore still only Lord Henry Howard and certainly not even yet Baron Howard of Castle Rising or Earl of Norwich which he was created in 1669 and 1672 respectively. In 1672, he would also be created Earl Marshal and thus become the most senior citizen in the Kingdom. In 1669, he was appointed Ambassador to Morocco where the city of Tangiers, which was a Portuguese enclave, had already been ceded to England as part of the dowry of Charles II's consort Catherine of Braganza in 1662. Lady Anne's distinctive appearance likewise corresponds with Wright’s three-quarter-length portrayal of her at Powis Castle (NT 1180957). Two other half-length compositions, similar to her present portrait, are also recorded but appear of inferior quality. It is therefore possible that the present work is Wright’s prototype for the half-length composition of Lady Anne, to which a companion portrait of the Duke was added based on the artist’s three-quarter-length version. As a matched pair, the present works are therefore significant in corroborating the iconography of both sitters. Both paintings are executed in oil on canvas supports attached to wooden stretchers. At some stage in the paintings history they have been cut down to ovals. It is possible that they were conceived as oval portraits, however, Wright painted fictive ovals which were fashionable in portraiture of the time. On the portrait of the Duke, faint diagonal lines are visible in the top corners which possibly suggest the painting was at one time attached to a rectangular wooden stretcher with diagonal cross braces, further research would be required to verify this. The portraits have been made into rectangular formats with canvas additions at all four corners prior to being lined. The direction of the canvas weave is slightly skewed at some of the corners suggesting they were never part of the original picture. Cracks have formed in the paint layers following the seam. The canvas tension is good and the pictures are in plane. The paint layers are in a good, stable condition overall. There are a few small, localised losses. The portrait of the Duke has some areas of slightly raised craquelure, but this is secure. The overpaint at the corners is well executed and the original paint layers are blended well to the additions when seen from a normal viewing distance. The portraits have been partially cleaned at some stage in their history with thicker layers of varnish present in the background and dress compared to the faces. This may have been done to preserve the overpaint at the corners. There is some overpaint present in the blue of the dress which now has a slight green hue when compared to the original. Both pictures have areas of wear and abrasion mainly located in the dress and armour, where the paint passages have been thinly applied. Both sitter’s hairstyles have been reinforced, under ultraviolet light dark touches to emphasis the outline and form are present, this is more extensive on the Duke. It is unclear if an earlier campaign of restoration lies beneath the old varnish layers. The sitter’s features are well preserved, an age crack pattern has developed in the flesh paint and there appears to be little overpaint apart from a few small touches. The paint on either sides of the join on both pictures has a slightly uneven texture which is probably related to too much heat being used during the lining process in these areas. The varnish layers are clear, semi-matte and even. There is a light layer of surface dirt present. The portraits are framed in wooden frames with carved decorative elements at the corners. The frames have been prepared with a warm red bole before gilding. A toning layer has created a craquelure pattern across the surface which is uniform across the surface of both frame. There are a few chips, losses and surface scuffs to the frames but overall they are in a good condition. Poorly held in place with bent nails. Protrude at reverse. Framed 82 x 72.5cm
Los 271
George Romney (1734-1802) John Howard visiting a prison pen and ink and wash on paper 29 x 52cm Provenance: [By repute and according to a label to the reverse: Collection of Alfred de Pass (1861-1952); Royal Institution of Truro by 1961; Sotheby's, where acquired by Agnew's by 1966] Exhibited: Kenwood, George Romney, Paintings and Drawings: Exhibition at the Iveagh Bequest, 1961, when loaned by Royal Institution Truro; Agnew's, French and English Drawings 1780-1965, 1966 The present drawing is one of a series on the subject of John Howard visiting a Lazaretto which captured Romney’s imagination over several years and recorded the suffering of prisoners. A philanthropist and social reformer, John Howard (1726-1790) had experienced captivity in 1756 when on board a ship taken by a French privateer where all the passengers and crew had been imprisoned in dreadful conditions. From circa 1773 onwards, he carried out inspections of prisons and lazarettos (plague hospitals) throughout Britain and Europe. He campaigned for the humane treatment of inmates and in 1777 published his first report - The State of Prisons in England and Wales. Romney was inspired by Howard’s heroism and initially planned to paint ‘two or three large pictures’ of prison scenes, according to his son John (see Patricia Jaffé, Drawings by George Romney from the Fitzwilliam Museum, 1977, pp. 58-59). The paintings however never materialised and instead Romney captured the subject in a series of studies and sketches depicting figures in dungeon-like prisons, which according to Patricia Jaffé can be interpreted as ‘generalised pictures of the miseries of pestilence ridden lazarettos’ (ibid, p. 58). It has been suggested that the crouching figure at the back of the scene looking on bears some resemblance to Romney himself. Not examined out of frame. Some creasing visible along the left and right hand edges. Small diagonal crease in bottom right corner. Light surface dirt under glass. Framed 50.5 x 72cm
Los 321
Alexander Lawson (1773-1846) after Alexander Wilson A pair of hand coloured engravings of owls and other animals 34 x 26cm Provenance: Private collection, Launceston Place, London, W8 Overall in good condition. Crisp impressions with attractive hand-colouring, likely of the period. Very minor discolouration to the paper in places and light surface marks/wear - most notably a small scuff to the right of the owl in the image of the bat (see additional images). Originally bookplates. Framed in rosewood frames. Framed size 50.5 x 42.5cm
Los 670
A Regency brass inlaid rosewood side cabinet, the rectangular top with beaded edge over pair of cupboard doors91.5 x 109 x 38cmTop with some minor indents and light scratching, a few dry cracks appearing to the left and right side, part of the bead moulded edge looks restoredVeneer with multple minor spilts and some losses, right pilaster with repairNo real evidence there was previoulsy a raised structure on topKey worksLeft leg broken and re-gluedSee images
Los 698
A Hoshiapur octagonal teak occasional table, early 20th century, the top with central copper and brass inlaid medallion and ebony and boxwood strung brass inlaid border, with similar decoration to all eight sides48 x 46cmsuper condition with good colour, patina and no obvious losses of the brass or copper inlaysome very light ring marks to the top but only noticeable and certain anglesstructurally sound and the base still aligns with the top very easily
Los 273
English School, circa 1744 Family group of portrait miniatures of Mary Orlebar (1730-1821), Richard Orlebar (1736-1803) aged 8 and Constantia Orlebar (1739-1808) aged 5 inscribed with the sitters' identities and ages to the reverse, one inscribed with date 1744 plumbago on vellum 8.5 x 6cm, together with another miniature said to be of Mary Orlebar's friend, Miss Hacks (4) Provenance: By descent from the sitters to the present owner The sitters in the present miniatures were born at Hinwick House, three of the five children of John Orlebar (1697-1765) of Hinwick, Bedforshire, and his wife Mary. At the death of their father, the unmarried sisters Mary (1730-1821) and Constantia (1739-1808), along with Elizabeth (1732-1810) who is not depicted here, moved to Ecton, Northamptonshire. The sisters had an active interest in literary matters and left behind many private writings, including Mary’s travel diaries and poems, and perhaps most notably Constantia’s Weather Book, an important chronicle in which she recorded daily weather from 1786 until her death (see Gordon Manley, ‘Constantia Orlebar's Weather Book, 1786-1808’, in Quarterly Journal of the Royal Meteorological Society, v. 81, 1955, 622-5). An attribution to James Ferguson (1710-1776) might be considered. Light surface dirt and fly spots under glass. Slight undulations to the vellum observed in Mary's portrait, commensurate with age. Constantia's portrait - there appear to be very minor foxing spots in her sleeve and face and slight abrasion to her neck. Not examined out of frames. The frames are as per images with slight separation. Miss Hacks' portrait - There is some staining and toning along the edges. The frame is broken.
Los 646
A William IV calamander breakfast table, the tapering octagonal column on a triform base with lion paw feet75 x 137cm Provenance:Private collection, Launceston Place, London, W8Top with a very shiny finish, multiple indents and light scratching from good useMultpile dry cracks to the top which has been re-enforced with wooden plates to the undersideColumn moulded decoration with knocks and some losses, Losses and splits to the veneer of the baseFeet heavily knocked with some minor losses to the flanksWe believe the wood under the veneer is most likely mahogany to the top with a soft wood baseSee images
Los 369
§ Edward Seago RWS RBA (1910-1974) 'A Berkshire Vale' signed lower left titled on typed label verso oil on canvas 41 x 51cm Provenance: Acquired by Gerald Robarts (1878-1961) great-grandfather of the present owner Oil on linen canvas support which is unlined. The tension is good and the picture is in plane. The paint layers are in a very good, stable condition overall. Drying cracks have formed in the darker paint passages which would have occurred as the layers dried and are related to the artist's technique. Thin varnish layer and have a semi-matte surface. There is a light layer of dust across the surface. 52 x 63cm framed. 39.5 x 49.5cm sight size.
Los 726
A Royal Worcester two-handled vase, circa 1910, of slender ovoid form, painted by Harry Davis with sheep beneath blossom filled trees, the reverse with a landscape, acanthus moulded handles 32cm highPaint splash (see attached image) on handle. No apparent damage or restoration under UV light. See additional images.
Los 575
An Irish marble topped mahogany side table, 19th century, the rectangular marble top over a plain frieze with egg and dart moulded lower edge with central carved scallop shell raised on acanthus capped cabriole legs and claw-and-ball feet75 x 88 x 60.5cmProvenance: Heydon Grange, NorfolkThe marble looks to be associated with the baseMarble with multiple chips to the edge including multiple losses, most noticably to the rear left and right cornergeneral wear and knocks as you would expect with age and use Table base:general knocks and light scratching, mostly to the legsMissing corner bracket to the rear right legSee images
Los 276
Penelope Carwardine (1730-1801) Portrait miniature of a gentleman, head and shoulders, in red coat with green facingssigned with initials 'PC'watercolour on ivory5cmProvenance:Private collection, Launceston Place, London, W8This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. F2VFLCRA.Visible surface dirt around the edges. Under raking light, a translucent mark visible in the sitter's right shoulder (bottom left edge). There appears to be slight fading to the jacket. Not examined out of frame.
Los 313
Adrienne Lester (1870-1950) 'Orphans', two kittens in a garden setting signed lower right, titled verso oil on canvas 40 x 50cm Overall in good, original, stable condition with no restoration apparent under UV light. Stretcher mark visible across the upper section of the picture. Light craquelure throughout commensurate with age. Paint surface dirty and would benefit from a clean. Some other occasional minor surface marks. Frame with light wear and one area of loss to the top right hand corner.46 x 56cm framed
Los 211
Circle of Lavinia Fontana (1552-1614) Portrait miniature of a young gentlemanoil on copper, circular7cm diam.Provenance: Heydon Grange, NorfolkSome small paint losses. Minor scattered retouchings throughout, some of which have discoloured - notably right of the sitter's collar. The paint layer is stable but has developed a network of age cracks which are prominent in certain areas. There are few areas in the sitter's nose, cheek and neck which do not fluoresce under UV, however in raking light appear to stand out. Loose in its frame.
Los 327
Follower of David Morier A trooper of Dragoons on horseback oil on canvas 50 x 40cm The trooper in the present painting is likely to be from one of the nations allied to Britain in the Seven Years' War (1756-1763). We are grateful to Christopher Bryant for his assistance with this catalogue entry. The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition overall. There are some localised areas of damage with associated paint loss. The texture of the canvas weave is evident in the surface of the picture due to lining. The painting is compromised by a very degraded varnish yellowed varnish which is masking the original tones of the picture, notably the blue of the sky. The condition of the varnish makes it difficult to judge the extent of any wear, abrasion of overpaint lying below it. Under ultraviolet light areas of overpaint are evident, covering wear rather than reconstructing large areas of loss. Framed 60 x 49cm
Los 415
A New Hall tea and coffee service, circa 1820, of London shape, bat printed and over painted with scenes of country houses and rural landscapes, reserved on a light blue ground gilt with foliate designs, comprising a teapot and cover, sucrier and cover, milk jug, slop bowl, two saucer dishes, six teacups, coffee cups and saucers, the teapot 25cm wide (26)Please see additional photographs for condition. Gilding is rubbed in places, especially one dessert plate, finials rubbed, there are also some scratches. Chips to the inside of the teapot.
Los 79
Fang Zhaoling (1914-2006) Chrysanthemums signed, two artist's seal marks in red, inscribed "The colour of the long-lived"watercolours on paper 99 x 34cmProvenance: Given by the artist to her son J.M.S Fang, and by him to his tutor in the Faculty of Oriental Studies at Cambridge in about 1971Not examined out of the frame. Work appears to be stuck down to silk mount. Mount appears quite stained and discoloured throughout. Some light handling creases visible along the lower half and some deeper creases to the centre of the image. A small loss to the top right corner and a small foxing mark in the lower right corner. Appears that there may be some debris and some minor accretions beneath the glazing. Colours appear generally bright and in good order.
Los 272
John Hoppner RA (1758-1810) Portrait of Sir John Morris, 2nd Bt. (1775-1855), when a young man, half length, in light brown coat with white stock oil on panel 76 x 63cm Provenance: By descent from the sitter to his younger son, George Byng Morris (1816-1899) Thence to his wife, Emily Matilda Smith (d. 1913) of Porthcawl by whom bequeathed in her will to her son, Charles Smith Morris (1854-1933) (see Literature, Supplement), Sold by Order of the Trustees of the late Sir Robert Morris, 4th Bt (1848-1927), Christie’s, London, 29 April 1938, lot 40, for £1102, when acquired by a descendant of the sitter, Thence by descent to the present owner, Private collection, Launceston Place, London, W8 Exhibited: London, Royal Academy, 1797, No. 305 (see Literature) Literature: William McKay and W. Roberts, John Hoppner, R.A., 1909, p. 175, where described as "a most excellent and much admired portrait"; William McKay and W. Roberts, Supplement and Index to John Hoppner, R.A., 1914, for p. 175 The sitter in the present portrait had been formerly identified as the Swansea copper and coal magnate Sir John Morris, 1st Bt. (1745-1819) (see Literature, Supplement) who became known for founding the industrial township of Morriston and was later created a baronet of Clasemont in 1806 for raising volunteer forces during the French wars. From the age of the sitter and the portrait’s exhibition date in 1797, when it appeared at the Royal Academy as of ‘Mr. Morris’, the sitter is however much more likely to be Sir John’s eldest son, also John, 2nd Bt. (1775-1855). The very same year, John Hoppner also exhibited a portrait of ‘Miss Morris of Swansea’, presumably one of the sitter’s three sisters. The family had a keen interest in the arts, John’s aunts, Margaret (1737-1814) aged 20 and Mary (1735-1812) had both been painted by Sir Joshua Reynolds, the latter's portrait having been sold in the same 1938 Christie's sale as the present painting. The younger aunt, Margaret, later married the art collector Noel Desenfens with whom she became one of the co-founders of the Dulwich Picture Gallery. Like his father, John continued the family copper smelting business and held the positions of Sheriff of Glamorgan and Portreeve (Mayor) of Swansea. In 1809, he married the Hon. Lucy Juliana Byng (d. 1881) daughter of John Byng, 5th Viscount Torrington. In the early 1820s, he had built Sketty Park House, the birthplace of his great-grandson, the artist Sir Cedric Lockwood Morris, 9th Bt. (1889-1982). John Morris succeeded his father as the 2nd baronet in 1819. When this portrait was last sold at Christie’s in 1938 amongst a number of Morris family portraits, three of which were by Hoppner, it was designated as the property of the late Sir Robert Armine Morris, 4th Bt. (1848-1927). In the will of Mrs Matilda Morris of Porthcawl published in The Times of 8th October 1913 (see Literature, Supplement) the present portrait had however been formerly bequeathed to her son, Charles Smith Morris (1854-1933), grandson of the sitter and cousin of Sir Robert, 4th Bt. This portrait must have therefore been gifted back to Sir Robert, the title holder of the main line, in his lifetime. The painting is executed in oil on a wooden panel support. The panel appears to be made from a single, thick board with the woodgrain running horizontally. The panel is in a good condition with no warping or splits. The paint layers are also in a good stable, condition overall. Drying cracks are evident in the surface texture which would have occurred as the paint layers dried and are associated with the artist’s technique. The larger drying cracks have been retouched to tone them down. Other small areas of damage have been retouched. The overpaint is well matched to the original. The varnish is clear, even and semi-glossy.
Los 377
§ Sir Gerald Kelly PRA (1879-1972) La Plage des Barraques, Calais, circa 1904oil on panel11.5 x 17cmProvenance:Michael Parkin Gallery, London,Heydon Grange, NorfolkExhibited:London, Michael Parkin Gallery, When English Art was Young, Summer Exhibition, 1996The painting is executed in oil on a small wooden panel. Overall the panel and paint layers are in a very good, stable condition. There are some small areas of uneven texture across the surface but these appear to have been present when the picture was painted rather than later damage. Under ultraviolet light, the varnish appears uneven, but in normal light the appearance is even, semi-glossy and clear.Framed 29 x 34cm
Los 441
A Spode composed dessert and tea service, circa 1815, painted to the centres with a floral spray, within broad light blue borders painted with further flower sprigs and moulded in white relief with flowers, comprising a centrepiece, two oval dishes, eight hexagonal plates, eight smaller plates, teapot, cover and stand, teacup, two coffee cup and two saucers, the centrepiece 27cm wide (27)Scratches and rubbed gilding consistent with age, but in largely sound condition. One of the smaller plates/bowls chipped. See additional images attached.
Los 334
Frederick Buck (1771-1840) Portrait miniature of Captain Valentine Lawford of the Devon and Cornwall Fencibles, c. 1798inscribed 'Captain Valentine Lawford / Drawn 1795 [sic]' (to the reverse)watercolour on ivory6.5 x 5cmThe Devon & Cornwall Fencibles served in Ireland in 1798.This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. P8BSD2RG.The ivory support is warped along the sides, commensurate with age. It no longer sits flat against the glass in its frame. Some surface dirt especially along the edges. Surface scuffs especially in the sitter's uniform and arm, only visible when examined in strong light at an angle. The frame is likely to be later and no longer holds the miniature in place. 7 x 5.5cm (framed)
Los 339
Circle of Charles Robert Leslie RA (1794-1859) Charles I on horseback, possibly after the battle of Nasebyoil on canvas75 x 57cmOil on canvas which has been lined. Paint layer is stable, but there are a few small losses in the bottom left corner. There is some scuffing to the varnish across the horse's legs and there appears to be a white haze in the black cloaked figure right centre. Some light surface dirt.Framed 89.5 x 72cm
Los 318
Charles Landseer RA (1799-1879) "Not E. L" - a study of a terrier with his master's hattitled lower centre and further inscribed '(E Landseer R.A.)'pencil 12.5 x 7.5cmProvenance:David Ker Fine Art, LondonHeydon Grange, NorfolkLight scattered foxing throughout. Some creasing to the paper throughout, particularly in the corners, in the bottom half and across the middle. 32 x 26cm framed
Los 366
§ Charles Spencelayh RMS HRBSA (1865-1958) The Secret Late Night Drinkersigned lower left 'C. SPENCELAYH'oil on canvas44.5 x 36.5cmUnlined. Paint layer is stable. Remnants of old varnish. Top and left stretcher bar marks visible in raking light. Minor retouchings to the background, particularly along the top and to the bottom centre.
Los 617
A Regency style mahogany tester bed, the reeded and leaf carved front posts supporting a shaped canopy with pierced decoration, adorned with floral chintz fabric with tasselled edges and horse hair mattress 276 x 210 x 215cmsome light wear commensurate with age and use but general condition good
Los 292
Marion Margaret Violet Manners, Duchess of Rutland (1856-1937) Portrait of Mary L'Estrange, Countess of Erroll (1849-1934); and Portrait of her sister, Constance, Lady Muncaster (1839-1917) the first dated 'Oct. 2 1873', the second dated 'Sept. 19 1872'; each inscribed with the sitter's identity pencil 25.5 x 17cm; 24 x 22cm (2) Provenance: Private collection, Launceston Place, London, W8 Mary - Signs of mount burns to the edges. Minor surface dirt. Small pin hole mark lower centre.Constance - Signs of discolouration in top corners. Light spotting throughout predominantly to the outer edges.Not examined out of frames. Framed 47 x 38cm; 45 x 41.5cm
Los 745
A pair of “mouse’s back” silk velvet curtains and pelmet, made for Colefax and Fowler, circa 1971, weighted, lined and interlined, with fixed pencil pleat heading, the leading edge and base finished with inset lime green braidPelmet 56 x 295cm Curtains Drop 337cm Top 155cm Bottom 327cm Provenance:The Reading Room, Chequers, BuckinghamshireOne of the most influential British interior designers and taste makers of the 20th century and co-founder of the interior decorating firm Colefax and Fowler, John Fowler (1906-1977) was suggested by Sir Roy Strong as a potential candidate to oversee the redecoration of the Prime Minister’s private residence at Chequers in 1971. By this time Fowler’s address book of clients was the stuff of legend having taken commissions from the most powerful and illustrious institutions and families of the period, and worked on Britain’s finest houses and estates from Blenheim to Buckingham Palace. Chequers had been placed in trust for the nation since 1921, and during the intervening period had become run down and was largely unmodernised, the Elizabethan interiors dark and gloomy, so that despite Fowler’s wealth of experience, Chequers’ renovation represented quite some challenge. Prime Minister Edward Heath and Lord Jellicoe as Privy Seal also had strong ideas about what should be done to the house, all within a “very restricted budget”. However, the Elizabethan house was eventually transformed, John Fowler and his assistant Imogen Taylor oversaw the works, treacle brown vanish was stripped from panelling to maximise light, simple rush matting or oatmeal fitted carpet set off oriental carpets, and many of Fowler’s original schemes continued to endure for half a century.Some fading to braid, otherwise in good condition
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